從譜式看臺灣皮影戲後場的音樂系統

The Musical System of the Instrumental Music in Shadow Play According to Notation

李婉淳(Wan-Chun Lee)

《臺灣音樂研究》 9期 (2009/10) Pp. 29-56

https://doi.org/10.29785/FJMR.200910.0002

摘要

本文從「譜式」角度剖析運用於臺灣皮影戲後場的音樂系統，奠基於寫傳─樂譜文本之上，加諸活傳統的口傳─唱唸法之調查，就兩相交織下的後場樣貌，梳理其音樂系統脈絡。寫傳樂譜僅能呈現簡略的曲調樣貌，「口傳心授」仍舊是傳統音樂主要的傳承途徑，本研究分析的樂譜有復興閣、福德及蔡龍溪之手抄本，並訪談調查後場樂師張姜、林連標、謝強受、張新國。口傳唱唸於後場的傳承脈絡中，可見三種描述方法：一為唱唸「二、三、四、五、六、七」為譜字的二四譜，二為唱唸「合、士、上、乂、工、六、五」為譜字的工尺譜，三為以樂器聲響的狀聲詞「隆、叮、咚」代替譜字的叮咚譜。依循譜式的發展脈絡，其中「二四譜」為潮州樂調之依據，無疑為「臺灣皮影戲音樂為潮調」提出最直接的證據；然而，樂師們用於唱腔【仙引】後的過場譜─【大八板】，非但以「工尺譜」唱唸，曲調更與北管的【小八板】近似。透過樂譜與實際調查，得知皮影戲後場音樂系統融合了潮調和北管，其中北管的運用，使得皮影戲音樂系統的探究，有更進一步的研究發現。

關鍵字

臺灣皮影戲後場 ； 譜式 ； 潮調 ； 北管 ； 二四譜

並列摘要

This paper analyses the system of instrumental music in Taiwan shadow play according to scores and the oral and written traditions. And it studies the development of musical system through the instrumental music in Taiwan shadow play.The score is a writing way and shows the brief melody. However, oral tradition is still the main way to communicate. There are scores from manuscripts of Fushin-ke(復興閣), Fu-de(福德), and Tsai Long-Xi(蔡龍溪), and interviews of players including Jiang Zhang(張姜), Lian-Biao Lin(林連標) and Qiang-Shou Xie(謝強受). There are three describing ways among the oral and traditional music: first is the two-four system tablature using letters, ”二, 三, 四, 五, 六and 七”; second is Gongche Pu (工尺譜) using letters, ”合, 士, 上, 乂, 工, 六 and 五”; third is ”ding-dong pu” (叮咚譜) using onomatopoeia for letters.According the development of notation, ”Two-four system tablature is the basis of the Cha'o Chou's tone today” brings up the direct evidence for ”the shadow play music is Chao-tiao (潮調) in Taiwan”. Nevertheless, players use instrumental music, ”Da-ba-ban” (大八板) after singing labeled melody, ”Xian-yin”. Not only ”Da-ba-ban” and ”Xiao-ba-ban” do be said and sung by players with letters, ”合, 士, 上, 乂, 工, and 六”, but also melody is similar with ”Xiao-ba-ban” (小八板) in bei-guan. Through scores and interviews, the instrumental music system of shadow play in Taiwan combines Chao-tiao and bei-guan. About the usage of bei-guan, this paper pushes the study of musical system in shadow play.

並列關鍵字

instrumental music of shadow play in Taiwan ； notation ； Chao-tiao ； bei-guan ； two-four system tablature